Some who have never raised their minds to the consideration of the real dignity of the Art, and who rate the works of an Artist in proportion as they excel or are defective in the mechanical parts, look on theory as something that may enable them to talk but not to paint better; and, confining themselves entirely to mechanical practice, very assiduously toil on in the drudgery of copying, and think they make a rapid progress while they faithfully exhibit the minutest part of a favourite picture. This appears to me a very tedious, and, I think, a very erroneous, method of proceeding. Of every large composition, even of those which are most admired, a great part may be truly said to be _commonplace_. This, though it takes up much time in copying, conduces little to improvement. I consider general copying as a delusive kind of industry: the Student satisfies himself with the appearance of doing something; he falls into the dangerous habit of imitating without selecting, and of labouring without any determinate object; as it requires no effort of the mind, he sleeps over his work: and those powers of invention and composition which ought particularly to be called out, and put in action, lie torpid, and lose their energy for want of exercise. How incapable those are of producing anything of their own who have spent much of their time in making finished copies, is well known to all who are conversant with our art. To suppose that the complication of powers and variety of ideas necessary to that mind which aspires to the first honours in the Art of Painting can be obtained by the frigid contemplation of a few single models, is no less absurd than it would be in him who wishes to be a poet to imagine, that by translating a tragedy he can acquire to himself sufficient knowledge of the appearances of nature, the operations of the passions, and the incidents of life. The great use in copying, if it be at all useful, should seem to be in learning to colour; yet even colouring will never be perfectly attained by servilely copying the model before you. An eye critically nice can only be formed by observing well-coloured pictures with attention; and by close inspection and minute examination you will discover, at last, the manner of handling, the artifices of contrast, glazing, and other expedients by which good colourists have raised the value of their tints, and by which nature has been so happily imitated.